Fajardo to release new album next December 3rd

Watch ‘Intuición’ and pre-order now on vinyl & digital

It is common among the inhabitants of the Canary Islands to use the expression ‘to look at the cloudscape’. A cloudscape is a picturesque formation of clouds one can easily get lost in, enraptured by its ephemeral existence. Such an incantation fits with the songwriting process. While clouds are moved around by the wind, get their colour from sunlight and their shape from changes in temperature, pressure, and electrical charge, the songwriter in creative mode ‘observes’ a melody he has created out of nowhere and moulds it into a shape as guided by intuition.

Right since they first met in 2018, Fajardo has been fantasizing about the possibility of having his songs arranged by Trilitrate. As that was taking form, some admired musicians such as Marc Enseñat (Monkey Nuts) and Diego Hdez (Keiko, The Conqueror) joined forces with this neoclassical trio, alongside three of Fajardo’s usual collaborators: Manuel Campos (Rosvita), Jordi Tost (Gos Binari, Parmesano) and María Navidad (Tostadas, Mesa Camilla). So when all that came true his ideas easily turned into songs that were both dynamic and nuanced and expressed in an understated style. The resulting set of songs then became an album aptly entitled ‘Intuición’ that was artfully recorded by Javier Ortiz (Estudio Brasil).

‘Intuición’ is an ode to observation, music and friendship. An ode to survival, in short. As the Fuerteventura-born musician puts it himself, -I entitled the album ‘Intuition’ because I feel that the essence of my creative will resides there (…). Indeed, the album addresses multiple issues taking a poetic stance, making imperfect and yet beautiful reflections that always skip over the obvious. The musician’s intuitive musings on those issues work their way into each of the songs. He reflects on the challenge of fatherhood in ‘Deidad’; not having a clue about anything in ‘Accidentes’; missing the pleasure of traveling for the sake of it in ‘Geometría / Geología’. The burden of reasoning (Aprender-Desaprender) becomes a volcano but, like the frenzied rush of being on stage, it is washed away by the sea, purified in saltpeter. We transcend. We arrive at a mountain where the podomorph engravings are so compactly built into the rock that it is almost impossible to spot them in daylight (they come out at night from the lichen-covered trachyte). The witches of Tindaya will greet you in the footsteps of our ancestors. I’ll wait right here for you.


Tzesne to release new EP by October 8th

Listen to ‘Orrocos’, the first new track from ‘Ateretlov’

With twelve albums under his belt, a trilogy of albums with N (Hellmut Neidhart) and an endless flow of collaborations released on labels as diverse as Abgurd, Drone,TIBProd, Mystery Sea, Eclectic Reactions or his own (SeriesNegras), Txesus Garate has become a key figure in ambient and contemporary noise music, as well as in activism and audiovisual manipulation (alongside Paralux).

Although the origins of this restless explorer in the Basque experimental scene are in the harsh sounds of industrial music, his take on music over the last 20 years (either as Tzesne or as a member of Gutural, guZural or Kkopu) has evolved towards simpler, concrete approaches to composition that, while still managing to take many different shapes and forms, result in a highly conceptual body of work that is both suggestive and dreamlike and yet musically unconventional.

Indeed, with this idea of nuclear and semantic simplicity of sound -of the modeling of time- in mind, Tzesne ran into ‘Voltereta’, a 2017 album by Daniel Ardura (Ensaña, Alado sincera, Sonio) that uses harmonic decontextualization to bend and curve the fabric of folk music to such an extent that the foundations of the genre are literally turned upside down. In this new EP, Tzesne seizes six of those songs and makes them his own, reinventing the essence of Ardura’s initial idea. ‘Ateretlov’ is a shift towards a space where Ardura’s original pieces can be re-signified. Tzesne embraces atonality, makes room for cracked electronic sounds and ultimately uses this new formal space to stage this one-of-a-kind interpretation.


IbonRG, Enrike Hurtado: Accessory notes for listening to oMOrruMU baMAt

Interview with IbonRG & Enrike Hurtado


How did the idea of collaborating on this album come up?

IBONRG -This album arose in January 2018, from the death of the poet and txalapartari Joxan Artze. Then I was proposed to participate in a tribute that would take place on his first anniversary. I wanted that, at least in the part of my tribute, the txalaparta had an important place, and I thought of inviting Enrike Hurtado, since he works developing sotfwares created by himself. Among them, one dedicated to interact with the txalaparta. So, the first step was to invite Enrike and start reflecting on Artze’s texts, as well as on his way of working, in order to create different materials from all of this.

How was the composition process?

IBONRG -The album brings together works composed in two periods. On the one hand, the materials properly created for the two 2019 tribute concerts (more or less, half of the pieces were created between 2018 and 2019). And a second phase, in the spring of 2020, already with the intention of recording an album that same summer. There are 11 pieces in total.

What are the songs like?

ENRIKE HURTADO -The songs are quite different from each other. Each one comes from a different process and with different instrumentation. Some have piano and voice, others have piano and voice and txalaparta, others are collages made with the computer, piano and computer… there is a bit of everything. Each one has contributed elements and materials from his own field. We were looking for a union, a balance between both.

How was the recording process?

IBONRG -We recorded the whole album here in this place, by ourselves, with this piano, with our microphones and different material that we borrowed. We did it all during the summer of 2020, at night, in peace and quiet, and we used this piano, a txalaparta and the computer. We have also counted on the technical help and collaboration of Tzesne, who has been in charge of the mixes. On the other hand, the graphic material, the design and the booklet that comes with the vinyl has been made by the artist Jon Martin. As for the technical aspect, Estanis Elorza has done the mastering and Ibon Aguirre has left us material and helped us with the midi. But basically, all the production is ours.

What is the title of the album?

ENRIKE HURTADO -The title comes from one of Joxan Artze’s many poems in which he played with the sound, that kind of visual poetry he did, where the sound part has a lot of presence. In this case “oMOrruMU baMAt” would be ‘orru bat’ (a roar).

IBONRG -He intersperses syllables a little with the idea of the txalaparta, of that play of tenses, of that trot. That can be glimpsed in your visual poetry, especially in your works from the 60s and 70s, on which we have based this album.

What is the order of the songs?

ENRIKE HURTADO -We have tried to find a balance. As the material is so different, the objective has been to compensate the sonorous material, so that the piano tracks are not all in a row, or the txalaparta tracks all in a row.

IBONRG -Yes, the fact that there are such different sonorities has caused us headaches when it came to establishing the order. But getting this arrangement right is part of the game, since the texts are also very different from each other. We have tried to find a way out, where the vanishing point could be.

Any considerations on first listening?

IBONRG -As it happens in almost all music, more than one listening is necessary to get into the songs. As you get to know the songs you discover new things and, at the same time, the order of the songs also brings a meaning to each one. A meaning that gives the previous or the next song and that, separately, would not be identical. Not only with this album, I think this happens with all music. It is necessary to go deeper into that relationship.

IbonRG & Enrike Hurtado release new album on July 2nd

Pre-order ‘oMOrruMU baMAt’ on vinyl and digital now, and watch ‘edipo berriari’

The same way that there are records that smell of nothing -‘What do things that don’t smell, smell like?’, the poet wondered -there are records that give off an intense scent of homage. Eau d’hommage. Homage, which comes from the Latin word hominem, behind which there is usually a person to whom one wants to pay homage, redundancy aside -more abstract entities are also paid homage, such as nations, which I find difficult to understand: there is no one who receives the honors; I understand that this type of homage is about a self-homage-. Or, more than one person, there are usually several people, since to pay tribute to someone you need an honoree, but you also need homage-giver. Or several honorees and homage-givers, so this becomes a kind of bacchanalia, not necessarily carnal -in fact, they tend to be more of a spiritual, almost ethereal type-.

We start from the premise that Joxan Artze (1939-2018) is a really homageable guy: an avant-garde poet in his first books -from which come the texts collected here, as lucid as playful-, willing to mix poetry with other artistic disciplines, whom some have placed within a movement called ‘visual poetry’ -again, such labels mania-. Musical poetry could also be, given the large number of musicians who have put melody to his poems -all of them embodied by the great Mikel Laboa, creator of the national anthem ‘Txoria txori’, which is sung even by the rugby players of Aviron Bayonnais, and whose lyrics are believed to be already popular, when in fact the belong to Artze-. Always against the tide, above all fashions, innovating, searching, machete in hand, making his way through the thick jungle of official poetry. Sometimes experimental (Edipo berriari) and/or political-social (Amaren sabela), other times lyrical (Euria bezain garden) and/or spicy (Atso otsoa). A rara avis, but completely contemporary.

On the other hand, we find the tribute artists, two of them, IbonRG and Enrike Hurtado, both with a long musical career, who got together one fine day to pay tribute to our beloved poet. IbonRG continues here the path opened in his first album, ‘Hil zara’ (2019), working the voice both naked and accompanied by the piano; and Enrike Hurtado experiments, as in his solo projects Azunak and Bazterrak, with software developed by himself. The pieces that come out of it, eleven in total, are quite varied: they range from the most organic a cappella to the most electronic instrumental, giving special prominence to the txalaparta -instrument recovered for artistic purposes by Joxan Artze and his brother Jexux, by the way-, played in the old style -with a single wooden plank-, passed through the softwares created by Enrike -which grind and reorganize the sound-, or even playing the piano as if it were a txalaparta -with airs of the late Chick Corea-. And that is how this act is consummated, as a tribute I mean. A homage, which does not consist of saying how good you are, how tall, how handsome, what a nice mustache you have. A homage instead, which is like a starting point, an inspiration, kind of I take some little things from you, but I am going to do other little things, my own, not yours copied, but new ones, inspired, more closely, or remotely, by yours. Every act of creation is, in the end, an act of recreation: nobody creates anything -another redundancy- out of nothing. Every act of creation is, then, an act of homage, and this one in particular is a very particular one to Joxan Artze, to his/the poetry, to his/the incessant search, to his/the lack of conformism. And it is, ultimately -although it may seem like a slogan of a funeral parlor-, a great tribute to life. Thanks to the honoree and to those who have given us so much.

oMOrruMU baMAt. Eau d’hommage, Aritz Galarraga.


Peña: Additional notes when listening to Carreiro

An interview with Peña


Where do the songs of ‘Carreiro’ come from?

TOÑO MARGARIÑOS – The songs of ‘Carreiro’ were not all formed at the same time. They do not have a single origin,
but they were composed for years instead, they are part of the bulk that was appearing during the first two, three years of the band’s formation. They were composed at different times.

How was the songwriting process?

The songs were composed independently of the line-up. We compose in a very basic way and then we rehearse them as a band together, just to prepare them for live. The songs are composed and designed in a very simple way.

How would you describe your songs?

In my opinion they are ultra simple songs. There is no intention of doing anything strange at the metric level, harmonies or structures. There is no desire to purportedly complicate the song structures. In this project the aim is to make music simple and easy, looking for that instant feeling that you can find naturally in popular music.

What does the album title mean?

We tried to find a common thread in hindsight and, well, there are several themes that are found in several songs. Basically love in all its meanings. Brotherly love, admiration, sensual love from a subject to the outside, for himself, for others, for nature… in short, there’s various ways of understanding love.

What does the order of the tracks respond to?

It is not very thought out, except for the position of some marked songs, such as the first one, which is ‘Burato’. An opening song, very gestural, which for me has an opening structure. Also ‘Renacemento’, which is the last of the second side, the last of the album. In that case, just the opposite, it is a hopeful and emotionally very positive ending.

How was the recording process?

The album was recorded mostly by us, with the help of many friends. The Cro! people, like David and Xavi, as well as many other who contributed on voices, like Laura, like Inés, don’t forget Muqui’s drums, plus other instruments that they loaned us… It took a long time, with the collaboration of many people and always in our homes. Each one by his side but, sometimes (in the times when it was allowed) getting together.

Who did you mix and master with?

We pre-mixed, we made spontaneous mixes. That material, as we are not professionals nor do we intend it, we sent it to Xavier Muñoz, who is the bassist of the singer of Stereolab, bassist of Alberto Montero as well, etc, a guy who works very well. He was in charge of making the mix. Later the master was done by Rafa Martínez del Pozo, an old acquaintance of the label (before Repetidor knew about this, we already undertook that work with him). In this type of productions, he is a person who respects the spaces and depths of the mix, something key in this type of music.

How should a first listening to ‘Carreiro’ be?

I don’t know if we are the ones who must say if the album is accessible or not but, of course, I always work with the desire that the songs will accessible. I have no interest in targeting a very specialized audience interested in one type of music. I think that what we have to do in this project is to make popular music, that’s it. Popular in every way, accessible and easy to listen to. Music that can develop its own speech from that simplicity, not the other way around. I’m not interested in making very complex music with very simple messages, but I want to make very simple music whose speeches – even political ones – appear after those first listens instead. I think this way is better or, at least, I aspire to it.

I hope you like this album. We have been doing it for years and finally we have been able to get it out, so even in this shit context that we have now, it’s a total success that it sees the light. We hope that something of what we’ve put into this album reaches you, and so that you’ll enjoy it. Thank you.

Isasa & Córdoba release new album next May 21st

Listen to a first song in advance and pre-order on vinyl & digital now

Thanks to the encounter between two artists such as the Madrid-born -Uruguayan roots- Conrado Isasa (A room with a view), and the Madrid-born, Copenhagen-based Ignacio Córdoba (Fuego, MAGIA), the album you have in your hands captures a unique confluence of talent. An intersection that comes from distant orbits indeed, which nevertheless complement here in the form of a stunning musical body.

With four albums under his belt, the last one just released this very same year, and thanks to an abysmal sensitivity and an articulation of tonal discourse that is pure delicacy and simplicity, the passing of the years has given Isasa the key to his own space within the international instrumental guitar scene. He began some time ago to explore the intimate recesses of memory, up until revealing little by little, partially and carefully, in chiaroscuro, the refractory legacy of his own life and family experience. Isasa courageously lays it out before us, thereby achieving the most difficult thing: to turn his life into music, to touch the universal. On his side, coming from the punk scene in Madrid and with wide experience in the international experimental music and improvisation circuits, we could define Córdoba as a master of secular ceremonies: a body conductor of electricity -both alien and his own-, an eternal apprentice and a professional errorist whose ultimate goal is to detonate the comfort zones of any potential watertight musical discipline. Always, in order to transcend prejudices and expectations from a brand new, unexpected, changing and inclusive place, where the limits imposed by scholasticism will be blurred.

Recorded during Christmas, in the garage of Víctor Ávila’s (Escaire) house in Elche and without acoustic insulation or soundproofing of any kind, Isasa and Córdoba have delivered an album that steps into the frontier, that contradicts as well as alters anything preconceived to continually veer towards surprise. This album marks a milestone in the career of both of them, as well as being a liberated and unexpected gift that not even those closest to them could have ever imagined. Thank you.


Peña release new album on April 23rd

Pre-order ‘Carreiro’ on vinyl and digital now, and watch ‘Burato’

After releasing a beautiful EP called ‘Fórmula’ last year, Peña are back now with their first studio work entitled ‘Carreiro’. A surprising debut, not only in terms of transcending folk, but also in terms of contemporary music coming from Galicia.

Using their own roots as a point of departure, the band formed by Toño Magariños (diola, Unicornibot), Rubén Abad (Cro!, Trilitate) and Elena Vázquez (Trilitrate) has been able to weave together an exquisite body of songs, which combines simplicity with idiosyncrasy and formal bravery. For, in ‘Carreiro’, the subconscious pulse of popular music is represented to us in such amplified harmonies, that overflows our listening experience in extraordinary ways.

Welcomed with a wall of organs at the very opening of ‘Burato’, then we witness with emotion the harvest, whose liturgical description seems to fit perfectly with the metric of the song. But wait, the apparently heartwarming ‘Selva’ hides criticism of certain superficial eco-friendly statements, just as in the 5/4 of ‘GPS’ one could ask oneself if –Estamos ata os collóns de estar sempre conectadas, ou non? (…). One way or another, in the end, we are left with the feeling that love remains in each and every one of these songs, although ‘Bandeira’ is probably the one that defines the album better.

An album that works as a return to the present, as an hypnotic call home: a familiar space where images of our childhood are projected, although we discover in them some elements subtly rearranged now… not everything seems to be exactly where it was.


Les conches velasques release new album next March 5th

Pre-order ‘Celebración del trance profano’ on vinyl and digital now, and listen to the first single: Fluorescencia

Two years after its eponymous and revealing debut, Les conches velasques return now with this new collection of songs, such as an invitation to community interlacing, dancing on deuces and threes… entitled ‘Celebration of the profane trance’.

What began as Pablo Jiménez’s (Picore) personal project of exploration, has become a collective in which Jesús Landa, Thomas House (Sweet Williams, Charlottefield) and Sergio Segura participate (the latter has been also in charge of the recording, along with Cristean Barros). At the same time, the mudéjar rock from their first album crystallizes wonderfully now, here, in the form of popular music without a town, just contemporary and universal.

With repetition as method and celebration as goal, in this verbena we enjoy an inclusive songbook with the essence of Pedro Salinas and the poetics of Miguel Hernández, but there is more. At the same time, Les conches velasques are capable of integrating the works of -no less than- Nass el Ghiwane, Agapito Marazuela or Hamid Alemmou, all of whom blend into the mix organically, as if it was Les conches velasques own repertoire.

Now, the air with which the Zaragoza band officiates and the agility with which they perform, end up impregnating this ritual with a unique libertine spirit and street flavor. Surely this music is a proof about essentialism and eclecticism being not exclusive. On the contrary, here we can enjoy their complementarity in the form of a legacy, an electrified ancestor. Les conches velasques projects a recurrent yet hidden question against the wall of our consciences. One that applies to the collective imagination that reigns in our beloved Iberia:

Is this is Occident?


El relevo alemán: Additional notes when listening to La séptima extinción

An interview with El relevo alemán


How has the composition process of La séptima extinción been?

JC PEÑA -In fact there are some songs that came out right after we recorded the previous album, five years ago if I’m not mistaken. So, from then on, it’s been quite a long process.

CRISTINA ARROYO -Our former drummer, Zutoia, lives in Berlin and we used to take advantage of the moments when she comes. We recorded about five songs there, then we recorded another two and finished the process, if I remember correctly, last summer.

JC PEÑA -The main peculiarity of this record is that, due to circumstances, four drummers play there: Javier, who is our drummer now, Zutoia, who played with us for a long time, me, who recorded several songs of the album and well, Cristina, who made a percussion there. But that doesn’t take away any kind of coherence from the album, besides it ads a lot of grace to it because each drummer has his own personality.

JAVIER OTONES -I think that in the end what it gives is richness to the record. A whole album with the same person playing, at the end, has an own style that -no matter how dynamic the album is, no matter how dynamic the songs are- you don’t get if you put different people playing the same instrument in different songs. So, I believe it does contribute to it.

What are the songs of La séptima extinción like?

CRISTINA ARROYO -It is an album that I think reflects very well our live, our live concerts, and captures very well the spirit of the band.

JC PEÑA – I think that the songs are a compendium of what we have been doing since the first album, especially since the second one, because it is true that in the first one we were still there looking for a path, a little bit. I think that there are very dark songs. They’re very pop songs -it’s not mainstream of course-, but they are quite… In general I think that what we do is nothing experimental. There is enough melody, it is quite accessible within what we believe that a band of guitars should be, in which the electricity predominates and certain, or enough, forcefulness.

CRISTINA ARROYO – It does not have many artifices because we do not like them either and, as José Carlos said before, it has many edges.

What is the title of the album?

JC PEÑA – The title of the album is a macabre or gloomy joke, which is more macabre and gloomy considering all what we have experienced in recent months. The sixth extinction is supposed to be what is already causing human action in the world right now, in terms of mass extinction of species and such. Then the seventh would be our turn. It is a macabre joke that has been always in the tradition of the group, from the beginning.

What gear or technical configurations have you used to achieve such a sound?

JC PEÑA – Well, for us gear is very important, since the beginning, in large part due to Javier Ortiz and Estudios Brazil’s influence, because that’s where we saw and really appreciated the difference. Then, about guitars, I played basically with this Hiwatt here -it is a Hiwatt of the year 72- and with this Vox here, from year 65. With this, I basically recorded all guitars. It is true that we used in one or in a couple of songs a prehistoric amp: A Gibson from year 47 that I have home. It’s a combo and it also worked very well. About pedals. Actually I only use a Memory Man and some pedals, some fuzz Dwarfcraft that are quite martian and quite extreme. About drums we… if I’m not wrong… Well, the rest will talk about it, right? But as for drums, we recorded with a Premier Signia which Javi has there as well, although it’s not this one and, on the bass, we played with the usual Rickenbacker and an Ampeg B25, I think, which we’ve been recording with lately.

How was the recording of La séptima extinción?

JC PEÑA -We have recorded in Estudio Brazil, in Rivas, Madrid.

JAVIER OTONES – The truth is that I had never been recording in Brazil and the truth is that it was even more comfortable than I expected. Well, both Javi and his team made me feel super comfortable.

CRISTINA ARROYO -Once you’re there, everything goes a smoothly.

JC PEÑA – Because we have a good relationship with Javier Ortiz, who is the owner and the technician. Right now I think that we cannot conceive of El relevo alemán without the relationship that we have with Estudios Brazil and the sound that we have captured in the records. In fact, I can listen to the first album, the second one, and be just as happy as then and that, I believe, is thanks to Javi’s timeless approach to sound.

How do you recommend listening to La séptima extinción?

CRISTINA ARROYO – I think that in each listening, maybe, you can find a different dimension of the group and the sound, but I believe that, in general, the album is quite catchy and it captures quite faithfully what we do live.

JAVIER OTONES – I think it’s an album, knowing what El relevo alemán is about -as we’ve discussed on other occasions-, that is quite accessible.

JC PEÑA – I think it’s an album that has a lot of edges but is generally quite accessible. It has a lot of melodies and it’s true that it has a lot of electricity and a lot of force, otherwise it wouldn’t be us, but I think it’s actually quite melodic in a good way. Obviously we don’t do mainstream music, but I think it’s perfectly enjoyable for anyone who is interested in what alternative rock is, whatever you name it.

CRISTINA ARROYO -I recommend to lock yourself up at home and to enjoy the album at full volume please.

Tilde: Additional notes when listening to Algae

An interview with Tilde


How has the composition process of Algae been?

MATI PANDO – I usually take the ideas worked on in the form of lyrics and melody.

CARLOS SÁNCHEZ -Mati is not very fond of making choruses, so the discourse of the theme… You have to turn that idea, which was an incipient idea about a melody, into a song. Then you have to listen to a lot of what happens to know where you want to go, because you don’t have a chorus that says ‘OK, let’s go here’ and then the chorus ends I’m going to… No, it depends on what’s happening and it takes you to one place or another.

CARLA SUZART – Searching, experiencing, form, thing, sonorities, tonalities, rhythms and understanding, feeling, what was the best thing for this song. What it asks for.

MARIO VÉLEZ -On metrics we never worry about saying ‘come on, this song is going to be 3/4, this song is going to be 5/4’. No, we simply develop the song and what is best for it.

CARLA SUZART – I think the lyrics were directing us a little bit to explore different regions and different tonalities and different metrics. We tried different metrics within the same song and also on the record, in the overall picture there is a rhythmic diversity, a timbre diversity, a tonal diversity.

CARLOS SÁNCHEZ -The melody of all this is what drives us to make the songs. What often happens is that Mati is in a… he stays in a melodic motif and, meanwhile, the harmony moves. Therefore that melody works differently in one chord than in another. And this happens quite a lot on the record.

MATI PANDO -Harmonies are full of colour and full of nuances and full of… well… They take you to many places with harmonies.

CARLA SUZART – We tried and tried and tried every piece of the song, every part ‘And that, what do we do? Well we can change here because this calls for a change. The lyrics talk about that so we can make a turn here to get closer to what the lyrics say. How can we do that? Come on, an atmosphere more like this, more like that’. So it was a very detailed work.

CARLOS SÁNCHEZ – There are chords with tensions, quatrains, there are things… It’s not a group of… There are harmonic subtleties, let’s say. And also, another thing that I personally like about Tilde, is that there are also atmospheric moments that we could harmoniously call ‘manners’, which have colours. Technically speaking, I really like the Dorian mode which, well, is a minor but has a sixth major and that generates an atmosphere and some colours.

MATI PANDO – For me they are like a journey because they have like their landscapes, like colours. The harmonies give a lot of colours, a lot of richness there and also the stories are very intimate or very rooted. Very winged and very rooted.

What does the title of the album respond to?

MARIO VÉLEZ -The title of the album, ‘Algae’, basically is that in almost all our discography nature is quite inside and, in this album especially, the sea is quite present. So, among the elements of the sea we finally found ‘Algae’. The seaweed is a curious element since it seems something simple even that… it is not that it is despised but that it does not have much value and within the marine world it is fundamental.

MATI PANDO – This album has a lot of sea, the sea appears a lot in many songs on this album.

CARLA SUZART -The feeling that there is a lot of water was unanimous. The sea is very present there, very strong.

How were the recording and mixing?

CARLOS SÁNCHEZ – We were very clear that we wanted to record all of them together, live.

CARLA SUZART -We recorded at the Hukot Studio with Milo. Milo is a love, it’s been incredible for us to record. We went to the studio for a whole week.

CARLOS SÁNCHEZ -In this case the production starts in the studio.

CARLA SUZART -We had rehearsed so much, we had played so many songs that in one day we recorded them all, the bases.

MARIO VÉLEZ -It was recorded by Milo. It was mixed by Carles, the guitarist, who has a very clear idea of the sound the record needed.

CARLOS SÁNCHEZ – I ended up mixing it myself because I already came with that work done. I was very clear about how I wanted things to sound, which was how Tilde sounded.

How do you recommend listening to Algae?

MATI PANDO – I think that Tilde’s album should be listened to several times because it is an album that has many nuances, many details, a lot of dynamics.

CARLOS SÁNCHEZ -You need to listen to it several times and, for example, if you are prejudiced against flamenco sounds, maybe the first time you listen to it you don’t. But maybe you do fall in love after… it opens you up even to that kind of sonority.

CARLA SUZART – I think that there are multiple auditions of the album so that you can capture the sensitivity in the details.

CARLOS SÁNCHEZ – It’s great that it’s not accessible on the first listening because, at least for me, when a record enters my head, I usually burn it very quickly.

MARIO VÉLEZ – I think it’s an accessible record, within its limits. Man, you have to listen to it. They are long, dense songs, many changes, little chorus… but I believe that it is accessible because, as much the melodies of Mati as the harmonies of the guitar and the bass or the rhythms, let breathe much each part. It’s not that it’s crazy about changes, but each part has its own space and I think it’s quite well conducted and pleasant. It’s not super weird.

CARLOS SÁNCHEZ -In the end, yes. With the elements that you have, you do what you can do aspiring to the best, that’s how it’s been.

CARLA SUZART -I wish everyone an excellent listening.